From the early linear tracings of a continuous line on the surface of a stone, these works led on to clasping a stone - skin to skin, living body to inert material - that made the MAN ROCKS.
The first version was done in a wood outside Brighton in 1979. Later ones are made from stones taken from the sea off the island of Portland and inscribed with a full body outline.
These experiments culminate in PLANETS at the British Library in London: eight granite glacial erratics, each inscribed with a different body silhouette.
I wanted to reverse Michelangelo's slaves, where a quarried square rock had to conform to the represented body. In PLANETS and MAN ROCK, the outline of the body conforms to the stone, suggesting a dependency.
The outline was carved to an adequate depth where the form was beginning to be self-revealed, so is on the cusp between a drawing and the arising of self-determined form.